Domingo is comfortably ensconced as Loris . . . he has plenty of heart . . . Veronesi, with the orchestra and chorus of La Monnaie in Brussels, lavishes affection on Giordano's score . . .

Record Review /
Geoff Brown,
The Times (London) / 14. January 2011

Angela Gheorghiu brings the full weight of her imposing, aloof delivery to the role.

Record Review /
Andy Gill,
Independent (London) / 21. January 2011

. . . a starry recording . . . It's sung with suitable high-octane passion by the two stars, and the central love duet fires up beautifully . . . [it's] a recording that presses all the right verismo buttons . . . The effect is delightfully kitsch and utterly charming.

Record Review /
Warwick Thompson,
Metro / 28. January 2011

[Gheorghiu and Domingo] give highly assured and vividly characterised performances . . . both of them sing with the requisite ardour and commitment, stirring up a storm in the long final duet in which deathbed confessions are made and forgiveness granted in grand operatic style.

Record Review /
George Hall,
BBC Music Magazine (London) / 01. March 2011

. . . [Domingo]: the phrasing is musical, and his declamation and detailed dramatic responses are as alive as ever . . . The supporting cast is good, with Fabio Maria Capitanucci alive to the Machiavellian qualities of the detective De Siries. Nino Machaidze sparkles as man-mad Countess Olga ¿ she even gets her often-cut song about the qualities of French men . . . Alberto Veronesi contributes a detailed account of the score, in particular highlighting its orchestra debt to Tchaikovsky's late style . . .